"Brockes-Passion [La passione di Brockes], TWV 5:1 (1716) Birgitte Christensen (soprano), Lydia Teuscher (soprano), Marie-Claude Chappuis (soprano), Donát Havár (tenor), Daniel Behle (tenor), Johannes Weisser (baritone) RIAS Kammerchor/Akademie für Alte Musik Berlin/René Jacobs
Jacobs proves to be a distinguished exponent of the Brockes-Passion as well, not needing to align it to operatic imperatives through any escalation of the orchestra’s role, given that it’s an intensely theatrical work of itself. In fact, it’s arguable whether innocent listening would not suggest a stage work. Its beauties are many and varied; the first part Arioso, the dramatic coloratura demanded at the opening of the second part – possibly the work’s most overtly theatrical experience – or the natural drama and energy flowing from the unfolding of the work, scene by scene. These qualities are not confined to the music, given that Barthold Heinrich Brockes’ text is so vivid and theatrical, and privileged drama over liturgy. And if the orchestral forces were on exciting form in the opera their role in the Passion is, if anything, even more crucial because ever more conversational, ever more intercessionary and Jacobs, being a creature of the stage, misses no opportunity to allow his forces their full moment. The solo singers are most impressive: clarity and refinement mark out their contributions individually and collectively.
1. Abendmahl 0:00 2. Wechselrede Jesus 16:09 3. Verleugnung und Reue des Petrus 37:04 4. Jesu Verhor for dem hohen Rat; Judas Verzweiflung; Reue und Tod 52:18 5. Verurteilung Jesu 1:06:02 6. Kreuzigungsscene 1:35:34 7. Jesu Tod 1:48:18 8. Nach Jesu Tod 2:07:19